Studia Universitatis Babeş-Bolyai. Musica (Dec 2022)
THE ʻMALAPARTISM ̓ – A MUSICALIZED «PLEURESEMENT»: CURZIO MALAPARTE, ALBERTO MORAVIA, ADALBERTO LIBERA AND THE ARCHITECTURAL STRUCTURES OF THE ʻBEINGNESSʼ
Abstract
Starting with Johann Wolfgang von Goethe’s vision, who acclaimed that ‘Music is liquid architecture; architecture is frozen music’[1], this is an investigation that touches subthemes as a psychological analysis of the characters from the film « Le Mépris » (by Jean-Luc Godard, 1963), made after the eponym novel «Il disprezzo» by Alberto Moravia[2] (1954); an analysis into the music of the film composed by Georges Delerue (1925-1992) – « Thème de Camille », an investigation in George Delerue’s music and other iconic songs from the decade’s atmosphere; a short philosophical introduction into the universe of the architect Curzio Malaparte (1898-1957) and ʻCasa Malaparteʼ from Capri Island. Said so, ʻCasa Malaparteʼ is bought into analysis through the aesthetical-architectural filter of some nowadays epic mansions/residences from Laval, Montréal, Las Vegas, Atlanta, Los Angeles, Bucharest-Kiseleff-Aviatorilor area, which are included in the architectural research-portfolio. More than this, we try to check how architectural structures sculpture the musicalized Being’s essences using examples such as Belle Abri, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa Leopolda, Villa D. Ionescu, Bel-Air, and other magnifiques villas that seem aesthetically very close to Casa Malaparte. In addition, this paper answers the following fundamental questions: Why, sometimes, the music saves/repairs the architectural existentialism? And why is it so important for architecture to create and re-create permanent music? The paper opens and enriches a collaborative research niche between architecture, music, analysis-methods from philosophy field, and the applied philosophies ʻbehindʼ the real estate portfolios; This paper is an exploration of the beautiful universe of some representative mansions, outlining the ineluctable liaison between sonorous structures and architectural structures, highlighting that the vision of Wolfgang Goethe is still alive in the buildings that surround our cities. This paper is a research realised between 2021 and 2022, and it combines observations from philosophy, architecture, literature, music, and real estate’s domain. [1] We have not found the work in which Johann Wolfgang von Goethe affirmed the quote, but we have consulted this digital source: https://www.elemental-architects.com/post/ architecture-is-frozen-music, that was accessed on 10 August 2022. [2] Alberto Moravia, (1) Il Disprezzo (Il fantasma di mezzogiorno), Milan: Bompiani, 1954; (2) Le Mépris, translated into French by Claude Poncet, Paris: Flammarion, 1955, and 1993; (3) Contempt, translated into English by Angus Davidson, New York: NYRB Classics, 2004.
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